*** "This work was undertaken solely for the benefit of the trade, to instruct the rising generation, and perfectly to complete them in the art and science of cutting out clothes. The copperplates consist of each separated part, which will on the first view convince the uninformed mind that with a little attention he may be a complete tailor." [72] Hogarth might conceive that, by rendering the habits of his early figures more conformable to the fashion of the times, when they were altered he improved them. Collectors are of a different opinion, though it must be acknowledged that, in Plate IV. of "The Rake's Progress," the humour is much heightened by introducing a group of vulgar minor gamblers in the place of the shoeblack. [73] The picture was exhibited at Spring Gardens in the year 1761, with the title of "Piquet, or Virtue in Danger," and is still in the collection of the nobleman for whom it was painted. It may fairly be considered as a moral lesson against gaming. The clock denotes five in the morning. The lady has lost her money, jewels, a miniature of her husband, and the half of a £500 bank note, which, by a letter lying on the floor, she appears to have recently received from him. In fine, all is lost except her honour; and in this dangerous moment she is represented perplexed, agitated, and irresolute. A print of it has lately been finely engraved by Mr. Cheesman. [74] In the little memorandum book from which I extracted this, Hogarth has inserted the following note (without the translation) from _Horace_. I do not produce it as a proof that he was a Latin scholar, but suppose that the lines were pointed out by some literary friend, and he thus applied them:-- "Segnius irritant animos dimissa per aures, Quam quæ sunt oculis commissa fidelibus." "What we hear, With weaker passion will affect the ear, Than when the faithful eye beholds the part." --FRANCIS. [75] The artist requested his widow would not sell it during her lifetime for less than £500. She abided by his injunction. Since her death it was put up to auction at Greenwood's rooms, and purchased by Messrs. Boydell: it is in their possession now. I some years since saw a picture of "Lucretia," by Domenichino, in the collection of Mr. Welbore Ellis Agar, which in air, attitude, and expression, bore a strong resemblance to Hogarth's "Sigismunda." [76] "The Altar-piece to St. Mary Redcliffe's, Bristol," for which he received five hundred pounds, and the "Paul before Felix," painted for Lincoln's-Inn Hall. [77] That this picture was much abused is certain, but it is equally certain that the painter had occasionally some consolatory compliments. Robert Lloyd, in one of his fables, asserts that "Sigismunda" "Shall urge a bold and proper claim To level half the ancient fame." A writer in the _Public Advertiser_, March 7, 1761, honours it with the following stanzas:--